La Flamme bibliographique : tradition et récits

1969 ◽  
Author(s):  
Hélène Cazes
Keyword(s):  
Cultural Identity ◽  
French Literature ◽  
The Real ◽  
Place Holder ◽  
Literary Coherence

On parle souvent des recueils de bibliographie comme d’ouvrages sans spécificité d’écriture : on y trouverait des fragments, des références à consulter, et non une poétique du discours savant. On y lit moins souvent encore des récits ! Dans l’imprécision et l’absence de définition générique, le terme « bibliographie » semble être appliqué par défaut, comme une non-détermination : les références seraient accumulées avec un souci de neutralité littéraire et constitueraient un hors-texte, au service des textes, sans écriture. Le lecteur consulterait, sans la lire, la bibliographie pour accéder au texte. Or, une analyse des titres et cohérences de trois grands recueils fondateurs de la tradition bibliographique en français (Bibliothèque Française de François Grudé de La Croix du Maine, 1585 ; Jugements des Savants d’Adrien Baillet, 1685 ; La France Littéraire de  Joseph-Marie Quérard, 1827) fait apparaître poétiques, discours et récits qui s’assemblent en une œuvre collective et mémorielle. Le motif narratif de l’enfant-bibliographe devient alors l’emblème des célébrations bibliographiques de la tradition.AbstractOne often uses the word “bibliography” as a place-holder term, that could designate a catalogue, a repertory, a description... Even more, bibliographies would be considered as works without a literary coherence nor depth: they would be commodities, gatherings of titles and references meant to be checked or consulted, never read as such. One rarely expects to find a discourse, and even less a narrative in these non-descript collections of fragments. Lacking precision and generic content, the word seems to be used by default, as a non-determination. References would then be collected and delivered with minimal auctorial or stylistic intervention so that they form a non-text, useful for accessing the real texts: those they refer to. One would then be authorized (and supposed) to read through bibliographies without reading them as texts. Now, a careful reading of three seminal bibliographies written for the French literature (Bibliothèque Française de François Grudé de La Croix du Maine, 1585 ; Jugements des Savants d’Adrien Baillet, 1685 ; La France Littéraire de  Joseph-Marie Quérard) brings a much more nuanced picture : there is a bibliographical genres, individual bibliographies do deliver discourses, they do tell stories and, joined to each other, they do take part in a collective and memorial project serving the formation and the recognition of cultural identity. The figure of the bibliographer-child can thus be taken as an emblem for the bibliographical celebration of tradition.

What Forms Can Do: The Work of Form in 20th- and 21st-century French Literature and Thought

2020 ◽  
pp. 1-20
Keyword(s):  
21St Century ◽  
French Literature ◽  
Life Writing ◽  
The Real ◽  
The Everyday ◽  
The World ◽  
Opening Up

This introduction provides a context for the volume by opening up the question of the agency of form and the work it accomplishes in a range of texts — including fiction, life-writing, poetry and thought — that explore the everyday and the real. The chapter addresses the broad trajectory and some of the key articulations and tendencies of form in the period covered by the volume and argues that form is not simply about the nature of aesthetic objects but a term that can be linked to translation and to social and ideological constructs that work to pattern and shape the ways we act and think. Indeed, in engaging with the contents of the volume, the authors of the introduction argue that form is about the potential for transformation. As such, form transforms us and also serves to transform how we see and read the world. The introduction thus provides a set of key considerations to guide the reader through the book, and also beyond it.  

scholarly journals PEMETAAN RAGAM HIAS ACEH DALAM KAJIAN GEOGRAFI BUDAYA DAN ETNOGRAFI

2018 ◽  
Vol 9 (2) ◽  
pp. 280-291
Author(s):  
T. Junaidi ◽  
Mufti Riyani
Keyword(s):  
Cultural Identity ◽  
West Coast ◽  
East Coast ◽  
Media Culture ◽  
Creative Economy ◽  
Ethnographic Methods ◽  
The Real ◽  
The People ◽  
Ethnographic Data ◽  
Ethnographic Analysis

Ornament is a symbol of cultural identity in a society that is in tune with the essence as homo symbolicus. The process spawned a culture in the development of decoration that is specific typical by region or culture. This study intends to acquire mapping in order to facilitate the identification of decorative ornamentation Acehnese, because in creative economy industry appears uniform and does not address the real wealth Aceh. Mapping the typical decorative loacl region these cultures can be analyzed based on the study of geographical and ethnographic analysis that refers to a system of understanding of space and time which embraced the people of Aceh. This study utilizes ethnographic methods to move select projects ethnography, collecting ethnographic data, creation of ethnographic recordings, analysis and writing ethnography. The result showed that the outline of decorative Aceh can be divided into pattern Aceh East Coast, West Coast and Interior Styling Aceh. This study is expected to be the conservation of the wealth of decorative Aceh so can be used in a variety of media culture in the future.

Fénelon’s Gods, al-Ṭahṭāwī’s Jinn

2017 ◽  
Vol 2 (1-2) ◽  
pp. 139-158 ◽  
Author(s):  
Shaden M. Tageldin
Keyword(s):  
Nineteenth Century ◽  
French Literature ◽  
Literary Tradition ◽  
Ancient Greek ◽  
Arabic Translation ◽  
Islamic World ◽  
The Real ◽  
In Trans ◽  
Arabic Fiction ◽  
Modern Arabic

Reading Rifāʿa al-Ṭahṭāwī’s 1850s Arabic translation (published 1867) of François Fénelon’sLes Aventures de Télémaquewith and against the realist impulses of nineteenth-century British and French literary comparatism, this essay posits al-Ṭahṭāwī’s translation as a transformational moment in the reception of the “European” literary tradition in the Arab-Islamic world. Arguing that the ancient Greek gods who populate Fénelon’s 1699 sequel to Homer’sOdysseyare analogous to Muslim jinn—spirits of smokeless fire understood to be real—al-Ṭahṭāwī rewrites as Islamized “truth” what Muslims long had dismissed as pagan “fiction,” thereby adroitly negotiating a crisis of comparison and mediating an epistemic sea change in modern Arabic fiction. Indeed, the “untrue” gods of the Greeks (and of French literature) turn not just real but historically referential: invoking the real-historical world of 1850s Egypt, al-Ṭahṭāwī’s translation exhorts an unjust Ottoman-Egyptian sovereign to heed lessons that Fénelon’s original once had addressed to French royalty. Catherine Gallagher has defined the fictionality specific to the modern European novel as neither pure deceit nor pure truth. How might al-Ṭahṭāwī’s rehabilitation of the mythological as the supernatural/historical “real”—and of the idolatrous as secular/sacred “truth”—invite us to rethink novelistic fictionality in trans-Mediterranean terms, across European and Arab-Islamic contexts?

Retour/détour: Bruno Boudjelal's Jours intranquilles

2014 ◽  
Vol 53 (2) ◽  
pp. 201-215
Author(s):  
Amanda Crawley Jackson
Keyword(s):  
Civil War ◽  
Cultural Identity ◽  
The Real ◽  
Representational Practice

This paper explores the photographic series made by French-Algerian artist Bruno Boudjelal in Algeria during the ‘black decade’ of civil war in the 1990s. The paper opens with a study of the artist's return to Algeria following the disclosure of his hidden Algerian origins, but makes the case that this retour is better described as a détour, in which the linear temporalities of return and the teleology of origin give way to a provisional intersection of trajectories and an ongoing, negotiated sense of cultural identity. It then goes on to consider the ways in which Boudjelal's images, in their negotiation of the well documented regime of (in)visibility that prevailed in Algeria during that period, re-work the indexicality of the photographic medium by means of an indirect (or détourné) representational practice that facilitates a reappraisal of what constitutes the ‘real’ in a context where the real is manipulated for politico-ideological reasons through censorship and spectacle.

scholarly journals Ritual and the Socio-Religious in the Cultures of the Celts and Germans

2018 ◽  
Vol 13 (3) ◽  
Author(s):  
Joanna Kowalewska
Keyword(s):  
Social Context ◽  
Cultural Identity ◽  
Real World ◽  
Crucial Role ◽  
Specific Group ◽  
The Real ◽  
The Individual

This article focuses on ritual as known to have been practiced among Celtic and Germanic people. It attempts to discern the role and significance of ritual within the religious and social context of these cultures, as well as find points of comparison within the two. Ritual plays a part on several levels, at times focusing on the individual or on a specific group, while at other times, ritual serves as a liaison between different units, as well as between the real world and the supernatural. In addition, ritual is a form of interaction across time, linking an individual or group with ancestors or descendants. It also plays a crucial role in cultural identity and cohesion.

scholarly journals LINGUISTIC REPRESENTATION OF CULTURAL IDENTITY AND OTHERNESS IN J.-M.G. LE CLEZIO’S NOVEL “DESERT”

2018 ◽  
pp. 42-46
Author(s):  
Olga Kulagina
Keyword(s):  
Cultural Identity ◽  
French Literature ◽  
A Priori ◽  
Nobel Prize Winner ◽  
French History ◽  
The Novel ◽  
Native Culture ◽  
Linguistic Representation ◽  
Contemporary French Literature ◽  
Lexical Fields

This paper deals with the linguistic representation of the opposition “migrant’s native culture — other culture” in contemporary French literature by the example of a Nobel prize winner J.-M. G. Le Clézio’s novel “Desert” (1980). A brief description of the period of French history when the novel was published is given; then we proceed to an analysis of the representation of the perception of both cultures (Moroccan as the native one and French as the other one), which goes through several stages: admiration “a priori” for a different culture under the influence of existing stereotypes, loss of cultural identity and adaptation to the otherness of French culture, gradual disappointment, escape from a different culture and return to the native cultural identity. The most significant linguistic means for the image of each stage, as well as lexical fields, through which both cultures are represented, are revealed.

scholarly journals SCIENTIFIC PERSONAS IN THEORY AND PRACTICE – WAYS OF CREATING SCIENTIFIC, SCHOLARLY, AND ARTISTIC IDENTITIES

2018 ◽  
Vol 4 (1) ◽  
pp. 1-5 ◽  
Author(s):  
Kirsti Niskanen ◽  
Mineke Bosch ◽  
Kaat Wils
Keyword(s):  
Cultural Identity ◽  
Theory And Practice ◽  
Evolutionary Stage ◽  
Max Planck ◽  
Scientific Institution ◽  
The Real ◽  
Scientific World ◽  
Social Scientific ◽  
The Individual ◽  
Real Self

The concept of scientific persona was developed by historians of science at the Max Planck Institute in Berlin fifteen years ago in order to understand how science works and how it can be conducted in a credible way. The Latin word persona means mask and the discussions of the term were elaborations of Marcel Mauss´s introduction of the concept in an article published in 1938 (Mauss 1938). In Mauss´s conceptualisation, persona was a feature that characterized societies in an evolutionary stage—a stage where members of the society had started to perceive themselves as individuals, but were still expected to fulfill certain, culturally defined roles. In such contexts, persona was not mask to cover the ‘real’ self of the performer, but a mask that enhanced certain features of the person. Transferring Mauss’s approach to the scientific world, Lorraine Daston and Otto Sibum (2003) defined, in an often cited article in Science in Context, scientific persona as an intermediate between individual biography and social (scientific) institution: it is a cultural identity that forms the individual in body and mind, and creates a collective with a shared and recognizable physiognomy (ways to be and to behave). Daston and Sibum characterized scientific personas as templates that emerge and develop in historical contexts and used the concept to investigate the creation of certain types of scientists: when, how and why have distinct “scientific personae” emerged?

scholarly journals La Pampa y sus hijos: el problema de la extensión en la literatura gauchesca

2015 ◽  
Vol 5 (1) ◽  
Author(s):  
Axel Pérez Trujillo
Keyword(s):  
Cultural Identity ◽  
The Real ◽  
Identidad Cultural ◽  
The Impact

Abstract: The problem of extension is a nuclear theme in Argentine gaucho literature, and it allows a particular reading of the development of cultural identity of Argentina utilizing as support the impact of the Pampa as an element of nature that resists domestication. To that end, the role of gauchos as prominent figures in literature gains a profound meaning in the crossroads between realism and fantasy, between the threat of the real and the imaginary, that is present in the Argentine Pampa. Resumen: El problema de la extensión es un tema central en la literatura gauchesca y permite hacer una lectura del desarrollo de la identidad cultural de Argentina empleando como contrapunto el impacto de la Pampa como elemento de la naturaleza que resiste domesticación. A ese efecto, el papel de los gauchos en tanto figuras sobresalientes en la literatura cobra un profundo significado en la encrucijada entre realismo y fantasía, entre la amenaza de lo real y la imaginación, que está presente en la Pampa argentina.

scholarly journals Stories of Peranakan Culture in Thailand's Andaman Cluster Provinces

2021 ◽  
Vol 37 (2) ◽  
pp. 226-242
Author(s):  
Thippiroon Poomduang ◽  
◽  
Jantima Kheokao ◽  
Pairote Wilainuch ◽  
◽  
...  
Keyword(s):  
Cultural Identity ◽  
Subject Matter ◽  
Communication Model ◽  
Way Of Life ◽  
Primary Research ◽  
Research Framework ◽  
The Real ◽  
History Of

This is a study of how the stories of Peranakan culture in Thailand's Andaman cluster provinces are told. Utilising Berlo’s communication model as the primary research framework, this research elaborates on how the Peranakan culture’s stories are told and how these stories help define the Thai Peranakan cultural identity. The findings indicated that there is a lack of storytellers in the new Peranakan culture to continue and drive culture preservation (sender), stories presented did not contain subject matter that points to the real identity of Peranakan culture (message), the channels of storytelling are not continuous and diverse enough (channel) and the awareness of Peranakan culture is limited (receiver). The Peranakan cultural identity, meanwhile, was elaborated in two ways; the history of the Peranakans and the Peranakans' way of life. It was also discovered that the Andaman cluster province was not where the Peranakan’s culture was originally constructed. Instead it was brought to Andaman by Chinese who were trading, living or studying in Malacca or Penang at that time. These Peranakan’s cultural identity is an assimilation of Chinese, Malay, European, and Thai cultures, as evident in Peranakan food, clothes, architecture, and beliefs and traditions. Keywords: Peranakan, Baba, Andaman cluster, storytelling, cultural identity.

Sign in / Sign up

Export Citation Format

Share Document